Daz Guitarz Luthier Interview
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NAME : David Zammitti
LIVING IN : Calmont 31560, FRANCE
TRAINING & BACKGROUND: self-taught
PLAYING: Guitar, bass, drums
NAME OF YOUR BAND : Nema
LUTHIER YOU ADMIRE THE MOST: Fred Donvalle, Maxime Plangenet
INSTRUMENT YOU DREAM TO HAVE ONE DAY: 90′ Wasburn
LAST ALBUM YOU BOUGHT: Don’t remember !
LAST MUSIC SONG YOU PUT IN YOUR CAR: Modern Day Delilah – Kiss
LAST SHOW YOU WENT TO : Rival Sons
MOST IMPRESSIVE INSTRUMENT YOU EVER HAD IN HAND: A whasburn ML US issued to 3 copies in the world
MOST STRANGE RESTORATION OR REPAIR YOU HAD TO DO : Trussrod and fingerboard change on a 1974 Burns bison bass
For me, the most important thing is the choice of wood. It should not be a festival of colors or types of wood.
The body and the fingerboard must match each other as well as the neck and the body etc… 3 different woods is good.
I find it homogeneous. You can put more, of course, if you make multi-ply. But too much wood kills wood !
So I take different woods and I test until I find a satisfactory result.
I don’t like to copy much, so I prefer my models, my designs.
From now on, I will just make a Telecaster type model revisited to my taste.
I put a lot of time and passion into it.
I have my Antares model. A super strat that is aggressive and soft at the same time.
My Headless Minotorium model. My favorite! Aggressive and modern.
The Nyx. A headless telecaster. And yes! Sacrilege for some but I find it terrible.
My philosophy: To transmit my passion through the instrument so that the customer feels
the joy of having a unique instrument made exclusively for him.
I do this work first and foremost for myself and I think it is important, because if you work for others it becomes a job like any other.
No competition with my peers. Just satisfaction and sharing and admiration.
The most important thing is the assembly.
The body and neck must be one, and the instrument must be assembled in such a way that it can be easily adjusted if the strings are changed.
The pickups do most of the work. I see the guitar as a support for the pickups. But support means quality. It’s a whole thing.
A musician has to ask me absolutely everything.
Even if it sounds silly. In the beginning, the client and I form a duo, a team.
It is by asking all the questions and proposing all the possible options that we will arrive at a satisfactory result.
So if you want an instrument from a luthier, write everything down on a piece of paper, think a lot and take the time to discuss it well with him.
I adapt to the project to offer a solution.
I listen to the person’s needs and suggest options that he or she may not have thought of.
The delays vary according to the instrument requested but I would say between 6 months and 1 year.
In general, customers need advice on the choice of woods.
There are a lot of them. So they get a little lost.
I propose different woods by showing them, and very often, the fact of seeing the woods, even rough ones, together, they manage to understand the proposal I make.
The main question is: what kind of music do you want to play with this instrument?
With his answer I have mine. I know what I’m going to propose to him as pickups, fingerboard radius, type of bridges etc…
He’s not famous but he’s the most talented guitarist I’ve ever seen. He’s Michael Serra.
He plays in various bands and projects and he is a guitar teacher. I think he’s going to get some notoriety soon because of his latest project. A great pride for me both for the man and the artist.
There is Gaël Liger from Le Son c’est dans les doigts who has one of my creations. Very great pride also because he trusted me on this project and I thank him very much.
I find it less commercial. Maybe more in the authenticity.
There are many talents in France: Mad Guitar, Alkemy, Plangenet and so on.
You can buy and try my instruments directly at the workshop and soon online where I will offer models from 1 600€.
The shows require a lot of time and money and I miss both at the moment. Maybe next year.
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